Boris Karloff as Frankenstein monster is highlight of Halloween month

1931: British actor Boris Karloff lowers his eyes as the Monster in a promotional portrait for director James Whale's film, 'Frankenstein'. (Photo by Hulton Archive/Getty Images)

1931: British actor Boris Karloff lowers his eyes as the Monster in a promotional portrait for director James Whale's film, 'Frankenstein'. (Photo by Hulton Archive/Getty Images)

Photo: Hulton Archive, Getty Images

Photo: Hulton Archive, Getty Images

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1931: British actor Boris Karloff lowers his eyes as the Monster in a promotional portrait for director James Whale's film, 'Frankenstein'. (Photo by Hulton Archive/Getty Images)

1931: British actor Boris Karloff lowers his eyes as the Monster in a promotional portrait for director James Whale's film, 'Frankenstein'. (Photo by Hulton Archive/Getty Images)

Photo: Hulton Archive, Getty Images

Boris Karloff as Frankenstein monster is highlight of Halloween month

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None of us asked to be born.

None of us asked to be created in a mad scientist’s laboratory, either.

The October movie calendar is filled with the usual bevy of horror films: Serial killers, zombies, witches, werewolves, vampires and the devil himself will terrorize Bay Area screens this month.

But the one I’m circling is a Frankenstein triple feature at the Castro Theatre this weekend.

The Frankenstein monster was not any of those above-mentioned Type A personalities. He had a deranged, egotistical father and a troubled, all-too-brief upbringing. He was a sad, lonely figure who could not comprehend his own feelings and urges. He probably would have been a nice fellow had someone given him a chance.

Anyone who has had a moment of social awkwardness can relate to the Frankenstein monster, and that’s because the guy we know was not created by Mary Shelley or Dr. Victor Frankenstein, but by Boris Karloff, a kind, gentlemanly English actor (born William Henry Pratt) who originated the role and brought a melancholic grace and dignity to the monster from beneath the pounds of makeup and costume.

Not many actors could have done that. And yet, Karloff played the monster only three times, all in the 1930s, and here they are: “Frankenstein” (3 and 8 p.m. Sunday, Oct. 15); “Bride of Frankenstein” (4:30 and 9:30 p.m.); and the rarely screened “Son of Frankenstein” (6 p.m.). Every Frankenstein since then has been measured against his portrayal, and fallen short.

The first two films are acknowledged, well-known and influential classics directed by the great James Whale, who as a closeted gay man experienced something similar to the hate that defined the Frankenstein monster, working closely on the character with Karloff.

The third is an interesting and visually striking film directed by Rowland V. Lee, a Hollywood journeyman (who, by the way, directed the first “Wolf of Wall Street,” a 1929 silent-turned-talkie). Much of the visual wow factor is credited to art director Jack Otterson, who worked with Hitchcock (“Saboteur”) and on great noirs (“The Killers,” “Black Angel”), Basil Rathbone’s Sherlock Holmes movies and other horror classics; and horror specialist George Robinson, the cinematographer.

It was the first throw-in-everything-but-the-kitchen-sink-oh-what-the-heck-let’s-throw-in-the-sink-too Universal horror film, which became a staple for the studio in the 1940s. It featured an all-star cast and outlandish plot. Start with Rathbone as Dr. Frankenstein, “Dracula” actor Bela Lugosi making his first appearance as Ygor (later Igor) and, of course, Karloff.

Karloff’s shoes weighed 11 pounds. His facial makeup added a couple of pounds more. Reviled as a monster — talk about body shaming — the Frankenstein creation, intended to be an advancement in human evolution, became a pariah, a freak.He is loved because of Karloff.

More frights at the Castro: The party continues the next evening with the great Rondo Hatton, the legendary Universal monster who needed no makeup (the former journalist had a disease of the pituitary gland), in his signature role as the Creeper in “House of Horrors” (6 p.m. Monday, Oct. 16 — part of a 1940s B-movie triple feature that includes “The Amazing Mr. X” and “Soul of a Monster”); a pre-Jack Bauer/President Kirkman Kiefer Sutherland in 1987’s “The Lost Boys” (8:55 p.m. Tuesday, Oct. 17); 4K restorations of 1932’s “The Old Dark House” and Tobe Hooper’s 1974 drive-in classic “The Texas Chainsaw Massacre” (Oct. 20) as well as Dario Argento’s 1976 slasher “Suspiria” (Oct. 23); James Cameron’s “Aliens” and Kathryn Bigelow’s underrated “Near Dark” (Oct. 26); William Friedkin’s “The Exorcist.” along with another adaptation of William Peter Blatty, “The Ninth Configuration” (Oct. 29); and Don Siegel’s original 1956 “Invasion of the Body Snatchers” (Oct. 30).

New Mission: The Alamo Drafthouse’s San Francisco satellite theater has been screening George A. Romero films Tuesdays in October in honor of the horror master’s passing on July 16. Up ahead: 1977’s “Martin” (9:35 p.m. Tuesday, Oct. 17) and the original 1968 “Night of the Living Dead” (Oct. 24). Also on the calendar: 70mm screenings of John Carpenter’s 1982 remake of “The Thing” (Oct. 21, 22) and on Halloween, a movie party centerpiece with “The Craft,” the 1996 cult film of high school witches (including Neve Campbell). 2550 Mission St., S.F. (415) 549-5959. www.drafthouse.com/sf

The Roxie: John Carpenter’s “Christine” (1983), which stars the late Harry Dean Stanton and a demonic ’58 Plymouth, screens in 35mm 9:30 p.m. Friday, Oct. 13, preceded by a short film compilation, Spookfest, at 7 p.m. A new Japanese horror flick, “Tokyo Ghoul,” screens Oct. 19-22. 3117 16th St., S.F. (415) 863-1087. www.roxie.com

Balboa Theatre: The historic Richmond District theater checks in with a screening of John Landis’ “An American Werewolf in London” (Oct. 24), featuring makeup effects by the great Rick Baker that won him an Oscar in 1981. 3630 Balboa St., S.F. (415) 221-8184. www.cinemasf.com/balboa